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Those sun burnt faces

post #1 of 6
9/9/09 at 3:15pm
Thread Starter 
Is anyone else bothered by those transfers where everyones face looks like they were out in the sun too long? The new blu discs of Silverado and The Postman have alot of those unnatural looking red  faces. Parts of Alexander have the same problem. Do they really have to turn up the color contrast so high? I don't believe it is my set because other discs look fine.
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post #2 of 6
9/9/09 at 6:16pm
The screener of SILVERADO didn't arrive until today, so I haven't had a chance to review it yet. I'll keep an eye out for the sunburns.
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post #3 of 6
9/10/09 at 8:52am

Quote:
Is anyone else bothered by those transfers where everyones face looks like they were out in the sun too long? The new blu discs of Silverado and The Postman have alot of those unnatural looking red  faces.
 

In Silverado, Paden (Kevin Kline) was left to die in the desert.  I'm pretty sure that sunburnt look was intentional there.

But seriously...

A properly calibrated, or at least properly adjusted display is important, particularly when it comes to a transfer that has a more saturated color palette.

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post #4 of 6
9/10/09 at 12:59pm
Thread Starter 
There are others in the film that do look a bit too red. Maybe I do need to push back the color level on my set.
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post #5 of 6
9/10/09 at 1:21pm
The color of caucasian faces in film has changed over the years. I've noticed that in the most recent years, when a film is remastered for a new DVD or BluRay edition, faces have been aimed more towards the red part of the spectrum. Years ago, faces were aimed more towards orange. Just look at various DVDBeaver screenshots of various editions to notice the trend. I happen to like the current preference so it doesn't bother me, but I'm quite sure it isn't your imagination.
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post #6 of 6
9/10/09 at 2:07pm
Lighting and color balance is all over the place in film, and has been for many years.  Remember, light and color are the stock and trade of the cinematographer and there are many that use these to great artistic effect.  Many directors also have their own idea of how a shot should look.  Very often it isn't supposed to look like "real life", but some stylized version of that.  The best we can do at our end is get a proper calibration of our displays then hope the guy transferring the film doesn't screw up.  If everything is done at least mostly right, what we see is what the director/DP wanted us to see.
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